Allen & Heath’s CQ series of compact digital mixers, were originally focused on the needs of musicians, bands and small venues. However, the new (free) V1.2 firmware upgrade brings features that add appeal to pro users and integrators.
Incorporating the same serious build quality as A&H’s higher-end products, the CQ series exhibits the company’s trademark ease-of-use — something essential in a fast-paced live environment.
Pre-configured Quick Channels, with their intuitive graphical interface, let users with little technical knowledge quickly build a mix. Designed around instrument- and application-specific processing, Quick Channels offer the ability to dial in a full channel of processing via a single knob. And, for those desiring more control, the CQ series offers Complete Channels with familiar in-depth parameter adjustments for EQ, compressor and gate functions.
Yet, even with the advanced mode engaged, CQ models lacked tools desired by many users. Not one to rest on their laurels, Allen & Heath engineers set out to incorporate their digital user community’s most requested features, providing a new level of control for the CQ lineup. Along with DCAs and mute groups, the CQ mixers now offer EQ on FX returns, color coding on outputs and custom user-configurable Channel Tabs.
Update Ease
The firmware can be updated using the most recent version of the CQ-MixPad app (available for iOs, Android, Mac OS and Windows) or by downloading a mixer-specific firmware file to a USB drive. Updating the firmware does not clear or delete show/scene data; however it’s always good practice to back up data before doing any upgrades. Saved show and scene data from an earlier firmware version is recallable on a CQ running V1.2. However, shows and scenes created using V1.2 cannot be recalled on CQ’s running older firmware. I updated my CQ-18T and CQ-20B using the MixPad app with no issues.
After updating the firmware, I began to explore the new changes. The first subtle change was the addition of a lock button on the CQ-18T home screen. A minor concern with tablet mixing is someone making changes at the unattended mixer. A lock button on the home screen disables the soft controls and temporarily locks the touchscreen. Although a touch of the unlock button restores everything, it is a nice deterrent for keeping wayward bandmates or curious audience members from making changes.
Under the Hood
The “Config” section now includes options to name (six characters) and choose a color for the outputs. Additionally, you can globally select where an output picks off signal from the inputs (Post-EQ or Post-Compressor). Touching the Sends box on any input or FX opens a Sends window showing send levels to each output and FX. Although all six characters appear on the tablet, only four of the six in an output name appear on the CQ-18T touchscreen, which can be confusing. I would also like the ability to name the FX to make it easier to remember what they are.
Selecting “Control & Network” accesses new tabs for setting up DCAs, mute groups and the custom layer configuration.
DCAs & Mute Groups
Firmware version 1.2 adds four DCAs and four mute groups. Any input, output (including Main Left/Right), and FX return can be selected to appear in a single mute group and/or DCA. Assigning items is an easy, intuitive process. Touch the desired “tab” (i.e., DCAs) and in the assignment overview screen, choose the desired DCA. Touch it a second time to give it a six-character name. Touch the items to be included in the DCA. Selected items turn red and their DCA assignment number appears.
Select the second DCA and repeat the process. Assigned items show their assignment number until they are unassigned, and previously assigned items can be reassigned by simply selecting them. When the Mute Group/DCA tab is selected under processing, each DCA lists its members — a nice feature.
When an item is assigned to a DCA, a small “bowtie” symbol appears in its fader strip showing the DCA’s net effect on the individual faders and informing me the input is DCA controlled. (Hint: I would like to see this on my other A&H mixers…)
Assigning items to a mute group follows a similar process. Once assigned, activate a mute group from the Fader screen or Processing screen. In many instances, I create a “band-break” mute group for everything except music playback and assign it to a soft key for quick access.
Activating a mute group illuminates the mute indicator for its members and the fader knobs turns red. Members previously muted will follow the group function and unmute when the group is unmuted. However, individual members can also be unmuted (i.e. the MC mic) while the mute group is active. Once I became used to it, I liked this workflow.
DCA mutes work in the same way as mute groups allowing me to use one to mute all channels and another to mute some channels (i.e., choir mics).
Have It Your Way
I am a big fan of custom mix layers, and on many gigs, I create a “Money Layer” with lead vocal inputs, DCAs, FX returns, and the Mute group buttons. Firmware 1.2, offers four nameable “Channel Tabs.” These can hold any combination of input and output channel strips along with the FX, DCAs and Mute Groups for a personalized control experience. Items can be arranged in any order desired to match your specific mixing style.
The CQ’s custom layer window, lets you quickly arrange inputs to display in the order you prefer on each custom Channel Tab, regardless of where they are connected on the desk. Plus, an item can appear on more than one custom Channel Tab for even greater flexibility. A small “Custom” button illuminates when custom Channel Tabs are active, and their names appear above each tab. Touching the “Custom” button again quickly reverts to the standard channel tabs configuration.
Colour My World and More
Color coding provides an effective visual reminder of what mix you are looking at, especially on a tablet. Along with color-coded input channel strips, you can now assign one of six colors to each output mix, including Main L&R.
Enhancements to the FX include two-band PEQ along with an input level overview screen showing each channel’s FX send level. This makes dialing in FX sends quick and easy. I would like to see a similar screen for each output to streamline dialing in monitor sends.
Finally, under V1.2, the CQ mixers support Allen & Heath MIDI Control. The MIDI Control software loaded on a Mac or Windows PC allows mixer control from external applications or hardware using MIDI over the network or USB.
Allen & Heath has provided several asked-for features in V1.2, making the CQ lineup a serious contender in the compact digital mixer market. The displays on both the CQ 18-T and my tablet seem crisper, and I have always preferred Allen & Heath’s color schemes, especially when mixing in bright light. I typically mix using the processing screen, and having mute buttons in place of the channel numerical value readouts would be ideal. Maybe in the next update.
For sound companies looking for a compact digital console for corporate events, smaller festival stages or package rentals, the CQ series is a logical choice. With the V1.2 update, mixing on a CQ is quick and easy for those who want it, while offering all the advanced functionality and control for those who need it.
Thank you, Allen & Heath, for listening.
To the Next Level
Allen & Heath enhances the lineup of its “little” digital consoles with free V1.2 firmware that takes the CQ Series to the next step with pro features such as DCAs, mute groups, custom layers and more.
Allen & Heath CQ Series Consoles Version 1.2
PROS
- DCAs
- Mute Groups
- Custom Channel Tabs
- Easy update
CONS
- No channel mute buttons on Processing screen
- Would like inputs screen (like FX) for aux outs
SPECS
- Custom user layer tabs: 4
- Mute groups: 4
- DCAs: 4
- Color-coded outputs: 6 selectable
- FX return PEQ: 2 bands
- Input source point for outputs: Post EQ/Post Compressor
- Price: Free download
MANUFACTURER: Allen & Heath
More Info: www.allen-heath.com
